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Rainer Reisenzein

In Film, Art, and the Third Culture , Murray Smith advocates a naturalized aesthetics of film that is a version of what he calls cooperative naturalism—a form of naturalism in which “the knowledge and methods of the natural sciences come to

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Laura T. Di Summa-Knoop

Murray Smith’s attempt to provide a naturalized aesthetics of film in Film, Art, and The Third Culture is both decidedly ambitious and wisely orchestrated. It is ambitious because of the criticism that has been leveled against naturalized

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Film, Art, and the Third Culture

A Naturalized Aesthetics of Film—Précis

Murray Smith

would draw upon and integrate the resources of disciplines spanning the natural and social sciences, the arts and the humanities. Where we do stand now in relation to Snow’s intervention? In Film, Art, and the Third Culture: A Naturalized Aesthetics of

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Putting the Culture into Bioculturalism

A Naturalized Aesthetics and the Challenge of Modernism

Dominic Topp

culturally specific and which may avoid stylistic devices that mesh neatly with our natural capacities. In both his new book and elsewhere, Smith confronts this suspicion, and he is right to do so. If a naturalized aesthetics is going to explain our

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Toward a Naturalized Aesthetics of Film Music

An Interdisciplinary Exploration of Intramusical and Extramusical Meaning

Timothy Justus

(2017), advocated applying the converging methods of the humanities, behavioral sciences, and natural sciences to craft a “naturalized aesthetics” of film. Smith takes inspiration from work concerning consciousness that has benefited from a triangulation

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Jerrold Levinson

– 525 . Levinson , Jerrold . 2018 . “ Film, Art, and the Third Culture .” British Journal of Aesthetics . doi:10.1093/aesthj/ayx023 . Smith , Murray . 2017 . Film, Art, and the Third Culture: A Naturalized Aesthetics of Film . Oxford : Oxford

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Katherine Thomson-Jones

convinced to expand their current practices (whatever those are) by adopting Smith’s naturalized aesthetics. In this article, I would like to examine the precise role given by Film, Art, and the Third Culture to scientific evidence in understanding film

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Murray Smith

Skepticism, even hostility, about the relevance of the natural sciences to the humanities has been the orthodoxy for several decades—a position finding support from otherwise disparate traditions and philosophies, including that of the late Wittgenstein, and post-structuralism. What, then, of the ambitions of those counter-movements within the humanities, like cognitive film theory, which have actively turned to scientific knowledge as a resource in exploring certain aspects of the arts and culture? This article examines emotional expression and experience in relation to film, testing the hypothesis that different theories of emotion, and in particular scientifically grounded theories of emotion, will yield different implications about both emotional expression in film, and our emotional response to films. To concretize the argument, this article offers an analysis of a sequence from Heimat 3, contextualized by a consideration of various factors that make the series as a whole a particularly illuminating case study.

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Paisley Livingston

called le naturel ( Elster 1986 ). In keeping with Smith’s call for a naturalized aesthetics, it may be appropriate here to observe that the thesis that there are unreflective aesthetic experiences is consistent with some work in contemporary psychology

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Stacie Friend

In Film, Art, and the Third Culture (FATC) , Murray Smith articulates and defends an approach to aesthetics generally, and to film specifically, that exemplifies a naturalized aesthetics . Borrowing C. P. Snow’s (1956) famous terminology, Smith